Prologue

Sculpture is 'the other' which is alienated from painting and stone
sculpture also became 'the other' of sculpture. The biggest charm of stone sculpture
is that carving method is used to enlivens it, not modeling. Elimination, thus
getting rid of what is unnecessary is almost like the meaning of emptiness and
nonpossession of the Buddhist philosophy. It is also in continuation of the
aesthetics of Neoplatonism, believing that the spirit and soul exists within a
material. I still want to observe today's stone sculpture based on this belief. In
the era where concept is the most important, an era where concept overlooks
substance, finding an artist who still sculpts in a 19th century style reminds me of
Seiren that sings to Odysseus whose ears are blocked. Even so, the fact that
excessive physical labor is required compared with all other genres of art and the
belief that sincerity is secured at least in that moment of labor made myself turn
toward the stone sculptor.

The Encounter with the Stone Sculpture

Before meeting you in person, I had a vague expectation of meeting a sculptor
that handles stones. Because handling stones seems quite anachronistic in the era
of high-technology of today and at the same time, it seems precious. These days,
sculptor as a profession is slightly strange and stone sculpting looks extremely
unfamiliar. I should ask you in the first place a foolish question, why do you sculpt
stones?

I am a single-minded person. The only thing I can do is sculpt stones. The
reason why? I should rather say that the stone came to me like destiny. It would
be the same for all genres of art but stone sculpture is just like the process of
life. As you would know, marble has to be dealt with extreme care and a mistake
cannot be accepted. That's why one has to approach a stone with a thorough plan
from the beginning. Having done so all my life, it's a pity that I didn't have any
other hobby.

So a stone sculpture is like a picky lover or your trouble maker child. You have
to be very careful and must put great effort into it and furthermore, you can't
anticipate. As the saying that media is the message, I keep on digging into what
the stone means. For example, when observing the relationship between the artist
and the material in plastic arts, people commonly believe that an artist who deals
with a certain material becomes similar to the substance. Could you tell me in
depth about your relationship with the stone?

In fact, I am pretty timid. As sculptors are like with three-dimensional object
that they deal with, I also have a certain timidity regarding space. When I am preparing for an exhibition, I keep on correcting my work every time I go back to
the space. I think that 'imagination through tactile sensation' is the most important
than any other thing while I am at work. For me, the texture of the stone such as
marble, sandstone and granite is essential. Sometimes it feels soft and tender, quite
often actually. The feeling that I am handling a flexible substance of variability is
very attractive.

Getting a new opportunity!

You have studied at the Accademia di Belle Arti, Carrara, Italy for 7 years,
right? What kind of experience did you have in Carrara?

A small city of Tuscany, Carrara, is a place where many sculptors with a strong
figurative sense gathers. I have learned the expression of the human body, the
basic of sculpture, in an exhaustive manner from the professors of the Carrara
Academy. In fact, Italy can be quite an unfriendly country but I didn't really suffer
during my life as a student. Of course, when I saw the sculptures in Rome and the
Vatican, I said to myself in dismay, "Can I be called a sculptor?" "Can I ever do as
they did?" It was difficult to overcome the sense of shame. But what else can I do?
When I left Korea, I had a certain pride and determination to succeed since I was
out of the circle of people and school. The decision to study sculpture in Carrara
had been the best choice that I could have chosen. And at the Academy, the
teachers acknowledged each student's unique sensitivity and encouraged students to
do whatever they wanted.

I feel that your works have become easier and more charming after you have
studied abroad when comparing to your works in the beginning of your stay in
Italy. Why do you think you have made this change?

I consider the reaction of the viewer as important. Had I made something with
all my might but it came out to be a piece of art that I am the only one who
appreciates it, making such art lacks value. Whatever the reason, my works are
made to make people happy and to give them a good feeling of what can be
'adorable' and 'comfortable.' I don't have a big-scaled idea behind my works.

Your sculpture is figurative but not realistic. The realistic aspect is obscurely
reduced into an abstract form. What is the reason for making rough and clumsy
forms instead of giving a refine specific form to the body's expression?

Realistic description is not interesting for me. I get bored very easily when I try
to sculpt a realistic image. I prefer to obtain the richness of the overall outline by
eliminating details. If you leave out the details, the sense of the whole becomes
alive in a great deal.

So it means that your work is oriented toward the essence of sculpture because you make the volume alive. That is, volume is the essence of sculpture and it
seems to be well expressed in the feminine body among your works. They are far
from being erotic figures. Of course, the Venus of Willendorf does not have the
eroticism that we imagine of but one can say that it is surely the prototype of
Terra Mater? In this aspect, it seems that your works also express a clear
maternal instinct. Also in the way that along with the volume, they maintain the
principle of frontality as in Egyptian sculptures.

I agree. Expressing a feminine body is going closer to the prototype of maternal
instinct rather than showing interest on the human body itself. It shows huge
volume but the expression is relatively refined. This is to minimize the sculptural
process and to refrain from expressing actions as much as possible. Static and
contemplative image as if time has been stopped is the image I pursue.

A different view

Your works of 2006 are especially simplified but have become a little humorous
in contents. Even with independent images, a certain Korean sentiment such as
waiting and souvenirs is told by a narrative. Furthermore, this exhibition shows
works that focus on 'relationships' in particular. For example, the series that
convey the harmony of an orchestra or the married couple, mother and son, family,
etc. What was the reason for such change in your works?

My wife is a sculptor too and we had our baby after a long time. This changed
my works a lot. You can say that I started to look at people and things with a
more compassionate view. That's why I now describe the people who live in the
'relation of co-habitation.' This was such a natural change for me. And the theme
of mother and child, isn't this the eternal theme that humanity desires for? The
message of fundamental love and peace of humans.

Your view with a warm heart toward the object has not changed. When I first
saw your works, there were only feelings of just being very familiar, nothing new,
if I permit myself to negative expressions. So in a certain way, it was difficult to
feel a visual pleasure. But as I view the works again after a certain time, the kind
and adorable features come to me as new revelations. I thought about the reasons,
and I came to the conclusion that it is due to the firm 'belief' that the artist has on
the object, which forms the base of the work. That is, I can feel your relaxed
warm view on the object. Maybe this was possible with the contact with nature, the
stone, thus the status of becoming one with nature.

Thank you for the reaction. As I am quite foolish, I dig into the object. Since I
handle stones, perhaps I have become a man of stone. Stone is a living being
which breathes, talks to you and comes close to you as if to softly seduce you but
sometimes it can be oppressive and can seize me in an outrageous manner.
Anyway, I strive to give the very opposite character to the stone, a light-hearted sensation and comfort, coziness to the immortal substance.

Patience or Sacrifice

Artists referred to in art history seem to be people who have sacrificed
themselves but who have survived in the end. For example, the incessant
experiment of Picasso was enabled by his wealth in economic terms and works of
Cezanne has been made possible by almost cutting away family ties. I wonder if
you also had a certain sacrifice to create such sculptures.

As I have mentioned before, stone sculpture requires seemingly excessive
patience and the elaborateness of the result is shown according to the time
invested into it. That's why I had to live simply by going back and forth to and
from my studio and home. A life far from the secular pleasure. I didn't even see
the movie 'Avatar' that almost all Koreans have seen. I would like to change from
now on, but I am not sure it it will work.

It is as if creating sculpture is a religious ascetic act. Can you maintain this kind
of life continuously?

I think so. Any sculptor who handles stone would probably lead a somewhat
lonely life, alienated in some sort. Be it marble or granite, stone work requires
long hours of extreme concentration so other matters cannot be tended to. I am
also human, of course I had moments when I wished to walk an easier path. It is
too hard, let's go easier now, be more comfortable. But this never works for me.
Since stone sculpture is all I've learned, this is my vocation. I have always wanted
to enjoy other cultural things but only with my mind. I guess I have a artisanal
nature inside of me. I get nervous when I leave my studio. I have to be in the
studio even when I am not at work.

I wonder if stone sculpture has been degraded to a formality in the curriculum of
the universities these days. Could you tell me about the students these days?

You're right. You can hardly find an art student majoring in stone sculpture. If I
can find some, I have mixed feelings of relief and regret. I welcome the spirit of
challenge at such a reckless work but on the other hand, I worry about how they
could make a living. In my case, after having students by my side for about 2
years, when I feel that there is nothing more to teach, I let go of them to become
independent and make them go study abroad.

Today's sculpture is being substituted with three-dimensional public art and
sculptors that work non-stop daily have become almost extinct. They only seem to
work hard short term for such public art pieces and live off the money they
receive for this which creates a sort of vicious circle that repeats itself. So now is
the time that the concept of typical sculpture has already vanished and therefore,
the meaning of sculptor is going through transformation. I think it's a pity that it's
difficult to meet sculptors in the traditional sense but on the other hand, I feel that
it's such a relief that artists like you still exist somehow...

This is a message of whipping, to work harder, right? (laughs). Well, I have lots
of worries. About how to create the works that I pursue without going against the
flow of the time. It's an eternal homework.
My Mentor, My Inspiration

Who is the artist that has influenced your works until now?

I respect the artists Igor Mitorai, Constantin Brancusi, Fernando Botero and
Isamu Noguchi. Brancusi has expressed humans into a simple but sensuous form.
When you see a work like , it does not resemble a real bird at all
but the swift curve, glittering shape is beyond words' description; the beauty of a
real bird's flight, the wings fluttering are even challenged by the sculpture.
which depicts a figure's head, a glittering bronze sculpture, does
not really look like a face but has a seducing power. I always think I would like to
sculpt something like that whenever I see a piece like that. As if it's obvious.

It's true that Brancusi's works seem to lie right on the borderline of figurative
and abstract art. During a certain period, there seemed to be a work influenced by
the of Brancusi. I wonder how it would be if the Brancusi style and Korean
motifs were combined in your works. Additionally, your works remind me of
Botero's sculpture in a way. You have mentioned Botero as one of your mentors.

Botero is indeed an internationally established artist both for the artistic and
public taste? The fat figures always make people happy. The essence of sculpture
is volume, isn't it? So naturally, it pleases the eye and gives unlimited joy for the
tactile sense too. Anyway, in the realistic perspective, Botero is one of the artists
that I would like to resemble the most. Because my basic motto is 'enjoyable
sculpture.' A piece of sculpture that makes people feel at home when it is around
you.

But in a certain way, don't you think it could be perceived as a very passive
attitude which tries to go with the public taste? What is your idea of an artist like
Botero who gives public joy and artistic satisfaction at the same time?
Wouldn't it be all artists' hope? I also have the wish to have both sublime(or
elegance) and humor(fun) together. Botero has shown this is possible and that's
why he stands as a well known figure in the world.
Standing in front of the Mirror after the Return!

I think the facial expressions of your works are quite uniform. I wonder if it can
be considered as a unique expression proper to Koreans only or a universal one
that conveys the heart of a child. Again, I wonder if the sculpted faces had each a
little bit different expression, that is, showing a more dynamic one to depict
human's happy, sad, angry and fun life, what would have been the result.

I have been through the dilemma too. The works right after my return to Korea,
at the beginning, I think that the archaic element and the rough and tough Korean
sentiment coexisted. This is another homework to solve.

Right. Maybe the solution is within the works you showed at the Return
Exhibition. I slightly saw the proper expression of Koreans in the works, actually.
The archaic aesthetic sense of Western sculpture and the sublime aesthetic of
Korean Buddhist sculpture were cleverly blended. Personally, the face of a Baekjae
person among Buddhist sculpture, the expression of Miruk is strangely beautiful.
Don't you have any ideas to benchmark it?

I have a wish to study again the facial expressions of Korea in the past that we
lost nowadays, a kind and sublime smile full of humanity which was our identity
back then. I shall do it with the intent to start again as if I'm in the beginning of
my career. Art has no end or beginning. Art is what you just have to do.
Epilogue: "Here lies a project, as great as the world. And the one who saw this great
project was an unknown man fumbling in the dark in search for food. He was totally
alone, if he was truly a dreamer, he would have dreamed a long and beautiful dream. A
dream that nobody would understand, a long, long dream in which a whole lifetime
could be spent. The young man who worked at the factory in Sevres to earn his living
was a dreamer with the dream that came out of his hands and he commenced to realize
his dream without hesitation. He knew exactly where to start from and the serenity
inside of him lead him to a wise road. Already we can find the deep conformity of
Rodin with nature."

-Translated from the Korean translation of the excerpt of Rilke's "August Rodin"
Interview by Yoo Kyung-Hee(Art Critic/ Ph.D.)
(This is an interview essay based on the interview with the artist, Lee Kyung Jae.)

The human body has long been an important motif and subject for sculptors, so much so that
the history of sculpture is often said to be identical to that of sculpture of the human body.
Be it as a symbol of religious faith, a formative art object conveying aesthetic message, or the
representation of an artist's philosophy, the human body expressed through sculpture has
undergone diverse change from the concrete to the abstract. In this day and age where
discussion on the concept of sculpture with relation to paintings, architecture and landscape
hardly exists amid a flood of various art forms such as installation art, environment art, and
media art, it is becoming extremely difficult to come across an artists faithfully in pursuit of the
core value of sculpture using traditional material and techniques dealing with a traditional motif.
It is especially so under current times where the boundaries between art and music, pure art
and commercial art, and sophisticated art and pop art are growing increasingly obscure. Amid
the current trend in the sculpture circle where modern sculpture has opted to remain as a visual
art much like paintings by dissolving the form and using industrial material, thereby forfeiting
weight and gravity, Kyeong Jae Lee goes against such trends by expressing the human body
through the use of stone in an attempt to emphasize weight and traditional carving method.
Human sculptures often take the form of exaggerated shapes in the modernism era, an
approach adopted by expressionists as a way of showing their interest in the human shape and
by post-WWII artists who sought to express human as an existential being. Some were
influenced by the culture of the primitive era and took a classic approach to expressing human
shape.

Lee is neither affected by the various art trends of the past nor the fad of current times,
creating art that is dictated solely by his own unique rhythm and order. While some dissect the
human body, use a wide range of material to express the abstractness (e.g., cubists), or borrow
the expressionists' method of changing the human shape in an attempt to represent moderness,
Lee adheres to the traditional approach using marbles to express a unified volume, immovable
frontality, weight and symmetry, all of which contribute to successful expression of modern art. It
is ironic, in a sense, that such a classic approach has the force to so successfully and effectively
express moderness. His collection reflects the artist's ongoing interest in the classic world of the
east and the west, as well as his religious background. Simplicity, frontality, immobility, and
simplified silhouette are the key features that define Lee's works, much like the Buddhist's
statue of the east and the religious stone statue in the primitive era of the west. The influence of
Henry Moore and the archaic culture is clear in his works such as the sleeping statue -classicism constitutes an integral part of his collection.

The seemingly simple proportion of the body, the smooth geometric masses
organically linked to create the human body, the frame that is suggested through full but implied
volume, the smooth surface that is carefully planned, the bold omission of insignificant parts, the
smooth face simplified in the form of a sphere, and the sophisticated texture that covers the
surface come together to form the harmony balance that lead us into the world of comfort and
peace. Small parts of the body such as hands and feet are carved into lines as if drawing the
lines on canvas. Other peripheral elements are expressed in bas relief to create a sense of
sophistication and controlled sensitivity.

Past works mostly consisted of a single figure, mostly women, either standing, sitting,
or sleeping. A mother-and-child or a couple standing together was the furthest from the norm
but was still held together to form a single entity. This time Lee ventures into a new form in
which a group of individuals stands independent of one another. Sculpture representing children
that reminds us of our care-free childhood playing gleefully and in high hopes of a bright future
is an example. The method of displaying his works – placing the sculptures on a high pedestal
– is quite different from the conventional method of placing sculptures on even-size pedestals,
creating a sense of nostalgia by distancing the audience from the art piece. The same goes for
the three men observing their shadows. The men who probably shared similar experiences as
children are shown to have taken different paths in life. They are looking at different directions
that may represent the future, present or the past, depending on one's interpretation. Similar
approach can be found in the bathing woman or the woman standing next to the street light.
Lee's collection depicts human in harmony with the environment, an approach taken by the
artist to express the human body to tell a story and to form relationships to express the human
soul.